Mark Turner – Patternmaster

Now in his early sixties, Mark Turner remains a saxophonist apart from his generation, not only because his discography as a leader is less extensive than that of slightly younger musicians such as Joshua Redman or Chris Potter, but also because he is the saxophonist who emerged in the 1990s whose influence has been most decisive on subsequent generations.

Turner has also collaborated extensively with European musicians, who quickly recognized him as an important innovator. He has performed alongside Belgian drummer Dré Pallemaerts, Italian trumpeter Enrico Rava, Catalan vibraphonist Jorge Rossy or Danish guitarist Mikkel Ploug.

When we have the opportunity to hear him as a leader, as on this new CD, his tenth in thirty years, it is always with great curiosity that we wait to hear what he has to say. And here, with the same line-up as on his previous opus from 2023, he once again offers us a repertoire entirely of his own composition. His choice of a piano-less quartet featuring a trumpet, as on his two previous recordings, clearly demonstrates his desire to highlight two melodic lines without harmonic accompaniment.

And his loyalty to trumpeter Jason Palmer shows that he has found in him a voice that complements his own, giving him ample space to express himself. It is a treat to hear the counterpoints and unisons delivered by these two musicians, not to mention their solos, which are original in tone and magnificent in phrasing.

Turner is known to be one of the few saxophonists who has mastered his instrument across its entire range, and the melodic lines he produces are of incomparable beauty. Palmer is no slouch in this regard, with a slightly veiled tone and great fluidity of phrasing. Turner‘s compositions frequently show his debt to Warne Marsh and Lennie Tristano, whom he discovered during his studies and whose influence he combined with that of John Coltrane, which was more frequent.

As for the rhythm section of double bass and drums—already present on the previous recording—it distills a refined and subtle accompaniment that suits this repertoire admirably, avoiding the easy option without being dry.

Mark Turner thus confirms here that he is a totally original voice in the contemporary jazz landscape as a composer, soloist, and bandleader. A voice that, without ever resorting to spectacle, carves out a fertile musical path that is difficult to remain indifferent to.